
From the Brianshare, Pikachu Ind & Six crew
...or just me ;o)
Six out
The term Internet meme is a phrase used to describe a catchphrase or concept that spreads quickly from person to person via the Internet, much like an esoteric inside joke. The term is a reference to the concept of memes, although this concept refers to a much broader category of cultural information.
4chan is a simple image-based bulletin board where anyone can post comments and share images. 4chan's collaborative-community format is copied from one of the most popular forums in Japan, Futaba Channel. Different boards are dedicated to different topics, from Japanese anime, manga, and culture to videogames, music, and photography. Feel free to click on a board that interests you, and jump right in—anyone can contribute!
Foo Fighters: Down in the Park: Colour & the Shape: Everlong/My Hero
Jimi Hendrix: Voodoo Chile (slight Return): Are you Experienced: All Along the Watchtower/Crosstown Traffic
Muse: Origin of Symmetry/Black Holes & Revelations: Plug in Baby/Knights of Cydonia
Pixies: Wave of Mutilation: UK Surf: Surfer Rosa/Come on Pilgrim: Where is my Mind/Monkey Gone to Heaven
Placebo: Nancy Boy: Meds: Bruise-Pristine/Drag
Nirvana: Smells Like Teen Spirit: Nevermind: Aneurysm/You Know You're Right
Queens of the Stone Age: No One Knows: Songs for the Deaf/Queens of the Stone Age: Little Sister/No One Knows
Red Hot Chili Peppers: Aeroplane: Californication: Around the World/Dani California
Silversun Pickups: Lazy Eye: Carnavas/Swoon: Well Thought Out Twinkles/Panic Switch
Smashing Pumpkins: Tonight, Tonight: Zeitgeist/Rotten Apples: Zero/Bring the Light
Sonic Youth: Sugar Cane: Daydream Nation/Dirty: Purr/ Teen Age Riot
System of a Down: Chop Suey: Toxicity: Toxicity/Aerials
Track 1: No One Loves Me & Neither Do I
Track 2: Mind Eraser, No Chaser
Track 5: Elephants
Track 6: Scumbag Blues
Not long ago, if you wanted music, you had to save up your pocket money, take a trip to the local record shop and lovingly leaf through its racks. Now, it's almost all free, instant and infinite. And our relationship with music has changed forever. We all know what the alleged future of music will look like. The record industry will be reduced to a smouldering ruin, the album replaced by endless individual songs and music rendered pretty much worthless by the fact that it's universally free. Empty record shops will be overrun with weeds and old CDs will be used as coasters. Your Madonnas, U2s and Coldplays will prosper, but for anyone further down the hierarchy, the idea of making much of a living will be a non-starter.
That's the accepted wisdom, at least. Some of it will probably prove to be true. But that grisly picture ignores subtler and more fascinating changes in our relationship with music that people have barely begun to understand. Fans can instantly discover the Rolling Stones' 1980s works, if they want to. Now, just to make this clear from the off: I'm nearly 40. Having recently moved house and consigned my CD collection to cardboard boxes, I've been surprised to find that I don't miss it at all. I use the free version of the music streaming application Spotify almost every day - and I now understand that it represents a genuine revolution in music consumption (and makes iTunes look pathetically old-fashioned).
Should the music industry finally get its act together and insist on some kind of subscription model, I'll pay for the same kind of service. But I wouldn't imagine that will alter my new listening habits. All that said, my musical mindset is still rooted in an increasingly far-off past, where to be a true fan of a band took real dedication, access to obscure information - and, frankly, money. I've just poured the music-related contents of my brain into a book, and I would imagine that 30-ish year's worth of knowledge about everyone from Funkadelic to The Smiths has probably cost me a five-figure sum, a stupid amount spent on music publications, and endless embarrassed moments spent trying to have a conversation with those arrogant blokes who tend to work in record shops.
Last weekend, by contrast, I had a long chat about music with the 16-year-old son of a friend, and my mind boggled. What to listen to next: Little Richard or La Roux? At virtually no cost, in precious little time and with zero embarrassment, he had become an expert on all kinds of artists, from English singer-songwriters like Nick Drake and John Martyn to such American indie-rock titans as Pavement and Dinosaur Jr. Though only a sixth-former, he seemingly knew as much about most of these people as any music writer. Like any rock-oriented youth, his appetite for music is endless, and so is the opportunity - whether illegally or not - to indulge it. He is a paid-up fan of bands it took me until I was 30 to even discover - and at this rate, by the time he hits his 20s, he'll have reached the true musical outer limits.
What does all this tell us? Clearly, for anyone raised in the old world, the modern way of music consumption has all kinds of unforeseen benefits. A good example: though I've always heard plenty of talk about the utter awfulness of such infamous albums as Lou Reed's Metal Machine Music (a double album of guitar feedback and white noise) or Deep Purple's Concerto For Group And Orchestra (don't ask), I can now listen to them for nothing, and have an opinion of my own.
As one of my music press colleagues use to say, there's no longer any past - just an endless present. They're both terrible, incidentally, but that isn't the point. What really matters is the fact that I can so easily tune in - and what that says about a new world of completely risk-free listening. Most importantly, as the great digital revolution rolls on, bands are no longer having to compete for people's money. Instead, they're jockeying for our time. And the field is huge, crossing not just genres, but eras. Who do you want to investigate today: TV On The Radio or Crosby, Stills and Nash? Do you fancy losing yourself in the brilliant first album by Florence And The Machine, or deriving no end of entertainment from how awful The Rolling Stones got in the 1980s? Little Richard or La Roux? White Lies or Black Sabbath?
As one of my music press colleagues use to say, there's no longer any past - just an endless present. U2's last album may have been a "grower" - but not many let it grow. For musicians, it's self-evident that there are all kinds of new openings for their music, but even if they break through, much less concerted attention will be paid to it. They may get an audience, but it will be very easily distracted. After all, endlessly playing the same album so as to extract your "money's worth" is behaviour that will soon seem like something from the dark ages. Woe betide the act that decides to make the kind of record that tends to be charitably described as a "grower" - something that may account for, say, the scant interest paid to the last U2 album. Certainly, as a record company MD told me a couple of weeks ago, stuffing your albums with mere filler is no longer a sensible option. So, yes, the record industry may yet have to comprehensively reinvent itself, or implode. Sooner or later, given that the need to read reviews before deciding what to listen to is fading fast, I rather fear that even music journalists may be rendered irrelevant.
But for now, this is a truly golden age - the era of the teenage expert, albums that will soon have to be full of finely-honed hits and the completely infinite online jukebox. Even if the music business manages to somehow crack down on illicit downloading and claws back a few quid via annual subscriptions in return for that self-same endless supply of music, the same essential rules will apply. Really: what's not to like?
It was great to see everyone at 18-30's & I thought I'd bear my heart at the moment. This was a vision which I've been unable to shift this from my head, so I thought I'd share it:
"I felt adrift, like an ancient mariner caught in the middle of the ocean with no wind or compass to get to land & out of trouble."
I beleive this feeling has come from not being able to find a youthwork position which I have been able to fill, even after getting a degree & youthwork qualification & being experienced for many years working with young people etc. etc.
However, the positive form this is that people are really rallying round for me - I've now started applying for more vacancies in youthwork & am not limiting myself to any particular geographical location - in fact I completed an application form last night for Leicester, & for an eccumenical organisation - all based on a recommendation from a former classmate.
I now feel that with a little direction, this lost man might finally find the shore, but please pray that I can finally get there!